A podcast with Nash Edgerton, director of The Square

By Adam Lippe

Australian stuntman Nash Edgerton made his first feature, The Square, back in 2008, but it was just released in the US.  The film is a twisty noir that takes place in a small, insular town, similar to Henrik Ruben Genz’s Terribly Happy (which also got a podcast dedicated to it).  I interviewed Edgerton along with a writer from Film Threat (he’s the one with the husky voice) and the 14 minute podcast below covers many plot details about The Square, so be wary of spoilers (though the movie is so complicated that you’re not likely to connect the dots from listening to our interview). Other topics include, why he stocked his film with so many characters with mullets, whether or not Foster’s is really just an exported beer, his short film Spider (which has been attached to the theatrical release of The Square), Not Quite Hollywood and the Australian film industry in the 1970s, etc. There’s also a special treat at the end of the podcast: I tell a story about Wolf Creek that has nothing to do with The Square, I just really needed everyone to focus on me for a minute.

You can listen to the podcast by clicking below or downloading it to your computer.

Download the full interview.
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Now on DVD and Blu-Ray

Roadracers

By Adam Lippe

Whenever there’s a genre parody or ode to a specific era of films, such as Black Dynamite’s mocking of Blaxploitation films or Quentin Tarantino’s Death Proof, the second half of Grindhouse, the danger is that the film might fall into the trap of either being condescending without any particular insight, or so faithful that it becomes the very flawed thing it is emulating.

Black Dynamite has nothing new to say about Blaxploitation films, it just does a decent job of copying what an inept [...]


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Featured Quote (written by me)

On Cold Fish:

Though the 16 year old me described the 1994 weepie Angie, starring Geena Davis as a Brooklyn mother raising her new baby alone, as “maudlin and melodramatic,” Roger Ebert, during his TV review, referring to the multitude of soap-operaish problems piling up on the titular character, suggested that it was only in Hollywood where Angie would get a happy ending. “If they made this movie in France, Angie would have shot herself.”

Well Cold Fish was made in Japan, where Angie would have shot herself and that would have been the happy ending.